Alesis wedge User Manual
Chapter 5 – Overview of Effects
46
Wedge Reference Manual
Reverb Parameters
Most of the reverb effects in the Wedge operate under the same set of control
parameters, which are listed and described in this section. However, reverbs which
use more processing power (i.e. the Single Configuration reverbs) provide more
parameters which take advantage of their extra processing power; parameters which
are not found in the other, smaller reverb algorithms. For example, Reverberation
Swirl is a parameter found only in the Single Configuration reverb types. Here is a
list of all reverb parameters found in the Wedge:
parameters, which are listed and described in this section. However, reverbs which
use more processing power (i.e. the Single Configuration reverbs) provide more
parameters which take advantage of their extra processing power; parameters which
are not found in the other, smaller reverb algorithms. For example, Reverberation
Swirl is a parameter found only in the Single Configuration reverb types. Here is a
list of all reverb parameters found in the Wedge:
Decay
The Reverb Decay determines how long the Reverb will sound before it dies away.
When using the Reverse Reverb effect type, the Reverb Decay parameter controls the
Reverse Time. This parameter dictates the size of the space you are emulating: small
rooms have a short decay (500ms-2 Sec) while large halls have a long decay (2-6 Sec).
When using the Reverse Reverb effect type, the Reverb Decay parameter controls the
Reverse Time. This parameter dictates the size of the space you are emulating: small
rooms have a short decay (500ms-2 Sec) while large halls have a long decay (2-6 Sec).
Low Pass Filter
The lowpass filter can be set between 029 Hz and 41.3 kHz, and attenuates all
frequencies above this value by 6dB per octave. The lower the setting, the less high
frequencies are allowed to pass thru to the reverb effect.
frequencies above this value by 6dB per octave. The lower the setting, the less high
frequencies are allowed to pass thru to the reverb effect.
The LPF simulates the reflectivity of the space you’re emulating. A tiled room may
roll off around 12kHz, where a living room or a warm church might roll off at 6kHz.
An instrument may also dictate how “bright” the reverb should be. If you want to
add sustain to an acoustic guitar without cluttering up the mix with the pick attack
and string noises, set the LPF around 2 or 4kHz.
roll off around 12kHz, where a living room or a warm church might roll off at 6kHz.
An instrument may also dictate how “bright” the reverb should be. If you want to
add sustain to an acoustic guitar without cluttering up the mix with the pick attack
and string noises, set the LPF around 2 or 4kHz.
High Pass Filter/Low Shelf (Plates only)
Classic plate reverbs often have a midrangy twang to them. Since this frequency
bump is part of the character of a plate reverb, the Wedge allows you to roll off the
highs (see above) and low frequencies on Plate reverbs. The High Pass Filter
parameter controls the frequency where the low end will begin to roll off (at a rate of
6dB per octave). The Low Shelf controls how deep the cut will be - from barely
noticable (high value) to completely cut (low value).
bump is part of the character of a plate reverb, the Wedge allows you to roll off the
highs (see above) and low frequencies on Plate reverbs. The High Pass Filter
parameter controls the frequency where the low end will begin to roll off (at a rate of
6dB per octave). The Low Shelf controls how deep the cut will be - from barely
noticable (high value) to completely cut (low value).
Bass Boost (Halls only)
The Hall reverb type allows you to add bass to the input signal before processing.
This can make the halls sound “warmer”, or even add rumble at extreme settings.
This can make the halls sound “warmer”, or even add rumble at extreme settings.